The left and the right hemispheres
"Neither hemisphere is 'more advanced' or 'better' than the other; they are merely suited for different dimensions and stages of processing. [...] The capacity to move from a 'common eye' or 'vulgar ear' into artistic skill and expertise goes with the move from right to left hemisphere predominance. [...] while musical perception is chiefly a right hemisphere function in predominantly 'naïve' listeners, it becomes a left hemisphere function in professional musicians and 'expert' listeners (who grasp its 'grammar' and rules, and for whom it has become an intricate formal structure.
[...] A similar shift occurs with those who become mathematical or arithmetical 'experts', who become able to see mathematical concepts, or numbers, as part of a vast, well-organized intellectual universe or scheme. This may be equally true of painters and interior designers, who see space, and visual relationships, as no 'common eye' can do."
Oliver Sacks in, Seeing Voices [pag 105, 106]
Red pill Blue pill / Time to change the paradigm
"We have been misled to believe that the brain, or the embodied brain, somehow serves up the magic of consciousness. We have, in short, been duped. [...] Evolution shaped our perceptions to hide adaptive behaviour. [...] We do, and should, take it seriously. But it is a fiction — a lifesaving fiction."
Donald D. Hoffman in, The Case Against Reality [pag 179]
And here.
And here.
About Orch OR
About IIT
When the map is better than the territory: here.
"None of these [above] proposals has offered a precise account for a single conscious experience. [...] No answer has been offered and none ever will: these proposals set themselves an impossible task by assuming that objects in spacetime exist when not observed and have causal powers."
Donald D. Hoffman in, The Case Against Reality [pag 180]
In search of a framework of reference
"All these brilliant people [...] felt that they were trapped by the current narratives around giftedness and high intelligence. Some of them said, 'you know, I can't even talk about myself because the minute I use these words people have a preconceived notion and I can't bust my way out '"
[minuto 29:15]
Ver também: The Talent of Being Inconvenient e IHBV
Taking the red pill
"Perhaps the FBT Theorem [Fitness Beats Truth] is irrelevant to human evolution? Perhaps what is required to understand human evolution is a complete artificial-intelligence simulation of humans, together with a simulation of their interactions with all the other organisms and with the earth itself. Perhaps, without such a comprehensive simulation, we cannot possibly claim to know that we did not evolve to see reality as it is."
The Case Against Reality, Donald D. Hoffman [pg68]
o carnaval dos cínicos / ratoeiras
"[...] toda a gente se habituara a que as personalidades se exprimissem nos media sobre os mais variados temas para emitirem opiniões em geral previsíveis, e mais ninguém lhes prestava realmente atenção, em suma, o sistema espectacular, destinado a produzir um consenso abominável, abatera-se há muito sob o peso da sua própria insignificância. No entanto, não fiz nada para o desiludir; condescendi com a atitude de benévola neutralidade que já me tinha dado tanto jeito na vida, que me tinha permitido recolher tantas confidências íntimas, em tantos meios, que reutilizei depois, [...]"
A Possibilidade de uma Ilha, Michel Houellebecq [pg 243]
Jean Cocteau e Picasso
[...] "Era por essa altura que Jean Cocteau que se orgulha de ter uns eternos trinta anos estava a escrever uma pequena biografia de Picasso, e enviou-lhe um telegrama a pedir que lhe dissesse a data de nascimento. E a tua, foi o telegrama de resposta de Picasso."
Gertrude Stein, in A Autobiografia de Alice B. Toklas [pag225]
Na Rue de Fleurus
"Todos traziam alguém. [...] Era de uma diversidade sem fim. E toda a gente vinha e ninguém fazia diferença nenhuma. Gertrude Stein sentava-se numa cadeira tranquila e quem podia fazia o mesmo, os restantes ficavam de pé. Havia os amigos que se sentavam à volta do fogão e falavam e havia os amigos sem fim que vinham e iam."
A Autobiografia de Alice B. Toklas, Gertrude Stein [pg 131]
Gestão de tempos
Procuram-se olhares cúmplices.
Demoram-se em olhares cúmplices.
Há-os fugidios.
— Não me comprometas!
— Ai que me apanhaste!
Há-os irresistíveis.
— Nem me atrevo a olhar!
— Onde irei parar!
Outros há, ameaçadores.
Outros ainda, intrusivos.
Discursos inteiros... autênticos...
... silenciosos... para bons entendedores.
Não...
Não terás o meu olhar cúmplice.
Não te concedo essa confiança.
Deliberadamente, não o partilho.
Não me revelo ao teu olhar.
Não me revelo.
Revelo que não me revelo.
Espelhos...
de acasos e legados
"It is the perverse logic of love that the reverse was true for Angélica: what kept her by my side when things didn't seem to be working out was, she has told me, the very fact that I came from some other place, her intuition that I would not treat her the way Chilean males treat women, that I could be totally trusted, that I was transparent, that I was naïve: in other words, that I was a gringo. A gringo that happened to be searching frantically for a country that would be the answer to his loneliness and transience.
Angélica possessed that country within her merely by virtue of having been born here, simply because her forefathers and foremothers had made love under these mountains and intermingled their races, their Iberian and Mediterranean and Indian and African stock, at a time when mine had even dreamed if emigrating. She possessed this country in the nursery rhymes in Spanish she had sung when I was reciting Old Mother Hubbard. [...] Her presence by my side as we strolled through the center of the city I had lived in for seven years suddenly transformed me into a tourist arriving at this foreign destination for the first time."
Ariel Dorfman, in "Heading South, Looking North. A Bilingual Journey" [pag. 179 -181]
on captivating
"[...] an actor is a dedicated being who works very hard — so damn hard that his level of understanding makes him a qualified artist in self-expression, physically, psychologically, as well as spiritually, to captivate."
Bruce Lee
John Little, in "Bruce Lee, Artist of Life" [pag. 235]
Acerca de Bruce Lee: aqui
da mercantilização da obra de arte / o fim da arte
"... de ocasião para a 'reflexão' do espectador, a obra torna-se um simples reflexo da subjectividade deste. Não é mais o espectador que se deixa afectar na sua sensibilidade (como no período clássico grego) ou no exercício do seu juízo crítico (característico do advento da época moderna); não: é o próprio espectador que vê na obra aquilo que deseja ver, e o que ele deseja ver é o que lhe foi social e culturalmente negado. O espectador das mercadorias culturais resume-se ao consumidor dos seus próprios desejos ilusoriamente realizados."
A Vida a Crédito, de Tomás Maia [pag. 42]
Doomed if you do, doomed if you don't
"One human being had seemed to love him and he had denied her life and happiness: he had sentenced her to ignominy, a death of shame."
James Joyce, in Dubliners, A Painful Case [pg 325]
Tarkovsky Now Free to Stream Online!
All seven classics:
- The Sacrifice: https://russianfilmhub.com/movies/the-sacrifice-1986/
- Andrei Rublev: https://russianfilmhub.com/movies/andrei-rublev-1966/
- Ivan's Childhood: https://russianfilmhub.com/movies/ivans-childhood-1962/
Plus his student films:
- There Will Be No Leave Today: https://russianfilmhub.com/.../there-will-be-no-leave.../
- The Killers: https://russianfilmhub.com/movies/the-killers-1956/
Also one where he appears as an actor:
- I Am Twenty: https://russianfilmhub.com/movies/i-am-twenty-1965/
From here.
The strength beneath
Lacking studio financing, Cassavetes mortgaged his house and borrowed from family and friends, one of whom was Peter Falk, who liked the screenplay so much he invested $500,000 in the project. The crew consisted of professionals and students from the American Film Institute, where Cassavetes was serving as the first "filmmaker in residence" at their Center for Advanced Film Studies. Working with a limited budget forced him to shoot scenes in a real house near Hollywood Boulevard, and Rowlands was responsible for her own hairstyling and makeup.
Upon completion of the film, Cassavetes was unable to find a distributor, so he personally called theater owners and asked them to run the film. According to college student Jeff Lipsky, who was hired to help distribute the film, "It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors." It was booked into art houses in 1974 and shown on college campuses, where Cassavetes and Falk discussed it with the audience. It was shown at the San Sebastián Film Festival, where Rowlands was named Best Actress and Cassavetes won the Silver Shell Award for Best Director, and the New York Film Festival, where it captured the attention of film critics like Rex Reed. When Richard Dreyfuss appeared on "The Mike Douglas Show" with Peter Falk, he described the film as "the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie" and added, "I went crazy. I went home and vomited," which prompted curious audiences to seek out the film capable of making Dreyfuss (who is himself bipolar) ill. (Wikipedia)
Taken from here.
O que tenho para dizer
O que tenho para dizer,
permanece pairando no espaço subcutâneo,
aguardando a folga de um poro.
O que tenho para dizer,
paira como loucas folhas redemoinhando no ar,
sem eira nem beira,
como que aguardando um forte sopro de vento,
que as guie numa direcção qualquer.
O que tenho para dizer,
carece de organização.
Espera no limbo do reino do tácito,
como um significado que ainda não encontrou o seu significado.
O que tenho para dizer,
flutua num caldo visceral que,
intermitentemente e sistematicamente,
insiste em forçar caminho,
na forma de ondas de ansiedade.
O que tenho para dizer,
aguarda uma boleia.
27 Março 2022
Recurrences
E volto a citar Joyce...
Foi para partir à descoberta disto e para o viver na sua plenitude, que James Joyce partiu da sua Irlanda, cortando com as fortes amarras da religião que o criou [também representada pela sua 'mother figure' — com toda a eventual carga simbólica que aí resida].
No entanto... dizem os entendidos... que JJ nunca 'saiu de Dublin'.
Na verdade... Nem nós, nem ninguém...
Certo?
A vida é como as ondas do mar.
Voltam e tornam a voltar à costa.
"To speak of these things and to try to understand their nature and, having understood it, to try slowly and humbly and constantly to express, to press out again, from the gross earth or what it brings forth, from sound and shape and colour which are the prison gates of our soul, an image of beauty we have come to understand — that is art."
A Portrait of the Artist as a Young Man, James Joyce
of art
"To speak of these things and to try to understand their nature and, having understood it, to try slowly and humbly and constantly to express, to press out again, from the gross earth or what it brings forth, from sound and shape and colour which are the prison gates of our soul, an image of beauty we have come to understand — that is art."
A Portrait of the Artist as a Young Man, James Joyce [pg 183]
of words
[...] "but yet it wounded him to think that he would never be but a shy guest at the feast of the world's culture and that the monkish learning, in terms of which he was striving to forge out an esthetic philosophy, was held no higher by the age he lived in than the subtle and curious jargons of heraldry and falconry. "
James Joyce, in A Portrait of the Artist as a Young Man [pg 158]
